Four days after Mark Ronson won the Brit award for Best British Male Artist, the sold-out last night of his tour was bound to have an unstoppable atmosphere. With a 5,000-strong audience bawling their support, the 32-year-old DJ-producer, clad in a dapper chocolate-gold suit, delivered from the off.

His show was presented like a 1960s Motown revue with various guests performing to Ronson's in-house band. This included a brass section and a female string quartet who, when they weren't playing, did synchronised seated dance moves.

The opening instrumental take on Maxïmo Park's Apply Some Pressure demonstrated they could engage without a vocalist, but pretty soon guests were coming thick and fast. There were, however, no appearances from Ronson's most famous protégés, Amy Winehouse and Lily Allen.

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A brief trip was made to Ronson's less well-known debut album, Here Comes the Fuzz, for the hip-hop rocker Ooh Wee, but most material derived from his chart-storming Version covers album, alongside occasional forays into the work of his guest artists.

Adele, for instance, performed her Cold Shoulder alongside a lacklustre attempt at Coldplay's God Put a Smile Upon Your Face. Ronson soon amped things up again up with a raucous hip-hop-flavoured rendering of the Shadows' Apache. From there on the evening truly hit its stride.

The Rumble Strips' frontman, Charlie Waller, nailed a fiery take on Amy Winehouse's Back to Black, while Alex Greenwald used an unlikely funk version of Radiohead's misery classic Just to crowd-surf to the back of the venue.

He then returned to deliver his band Phantom Planet's monster hit California, the theme to the television series The O.C. Next, from beneath a severe black bowl haircut, Tim Burgess sang his band the Charlatans' baggy classic The Only One I Know, while Klaxon Jamie Reynolds bounced around playing an apparently unplugged guitar.

By now, the onstage sense of revelry had translated boisterously to the crowd. In the absence of Winehouse, up-and-coming singer Tawiah provided the vocals for the Zutons' Valerie and, while this lacked the chutzpah of previous songs, an encore ended things on just the right note of euphoria.

Australian singer Daniel Merriweather led an assault on the Smiths' Stop Me If You Think You've Heard This One Before, which mutated winningly into the Supremes' You Keep Me Hanging On.

By the time the house lights went up, Ronson had firmly sealed his reputation as gracious ringmaster to a nigh-on-perfect party band.